The first part of this film overwhelms me as much as RUHR (2009, James Benning, A+30). The first part of this film presents the moon in the dark sky in a very long take.

This scene unintentionally reminds me of my own childhood. I remember that when I was about 14 years old, one night I saw a beautiful moon in the dark sky, so I got out of my bed and went to the front yard of my house, and watched the moon for about 30 minutes at about 03.00am. I didn't know why I did something like that. I guess it is highly likely that I am LUNATIC. There was also a very funny thing happening at that time. I noticed that my neighbor stood at the window on the second floor of his/her house and watched me for a while. My neighbor must wonder what I did at the front yard at that time.

My own experience proves to me that Teeranit and I like to watch the same thing--the moon in the dark sky. There's something extremely magical about it.

I like this film in nearly the same way as I like AFTERNOON TIMES (2005, Tossapol Boonsinsukh). These two films are different, but there are a few things in both films which I like, for example,

2.1 These two films seem to portray the secret love/fondness that a woman has for a man, and both films do this job very well, because I feel very much involved with the heroines of both films.

2.2 The atmospheric quality of both films

2.3 The disappearance of the heroes in both films

2.4 The search for the hero in AFTERNOON TIMES/the search for the photo of the hero in 36

Another thing that I like very much in 36 is the obsession with digital photos and digital memory.

3.NOTHINGNESS (สุญญตา) (2012, Pattamon Sawasdi, 9 min, A+)

This film unintentionally makes me think that someone should remake JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES (1975, Chantal Akerman, 225 min). But in this remake version, the three days in the life of the heroine (Jeanne Dielman) should have nothing special happen. The second day and the third day in this imaginary film should be as ordinary as the first day in the film.

4.MIDNIGHT BLUE (2012, Teerapat Jaroenpakdee, 30 min, A+10)

5.TELEPHONE LIE (2012, Niwaruj Teekapowan, 23, min, A+10)

This film reminds me of NEW GENERATION (เด็กโจ๋) (2008, Pakwan Suksomthin, 16 min, A+30), because both films portray psychotic girls, which is the kind of characters that I like very much.

The film partly suffers from the same problem found in such films as ALTIPLANO (2009, Peter Brosens + Jessica Woodworth, Belgium, A-/B+). The cinematography is too beautiful and too advertisement-like.

This is the year of South Korean films for me. Apart from COME, COME, COME UPWARD and SCARS, I also like CHEONGGYECHEON MEDLEY: A DREAM OF IRON (2010, Kyung Kun Park), DANCE TOWN (2010, Jeon Kyu-hwan), AN ESCALATOR IN WORLD ORDER (2011, Kim Kyung-man), PETTY MIDDLE MANAGER (1961, Lee Bongrae), REPATRIATION (2003, Kim Dong-wan), and THE SHOWER (1978, Ko Young-nam) very much.

The film is nice, but several things portrayed in this film are not very interesting in my point of view. We all know that selflessness is good and selfishness is bad, so I think there's no point in promoting selflessness like in this film.

On the contrary, I just watched JOSEPH L'INSOUMIS (2011, Caroline Glorion, A+), which is about a Christian priest who devoted his life for the poor. I must admit that I much prefer JOSEPH L'INSOUMIS to MATTHIEU RICARD, ON THE PATH TO COMPASSION, partly because the world portrayed in JOSEPH L'INSOUMIS is full of evil, wretchedness, suffering, and controversy, while the world portrayed in MATTHIEU RICARD is much more peaceful. I'm not saying that JOSEPH L'INSOUMIS is a better film, but I think films about evil and suffering often interest me much more than films about virtue and happiness.